Jump to content


Tuesday, April 3


  • Please log in to reply
7 replies to this topic

#1 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 23,998 posts

Posted 03 April 2012 - 10:51 AM

Lourdes Lopez will succeed Edward Villella at Miami City Ballet.

The Miami Herald

The 11-member search committee made its decision early Tuesday, and the choice was ratified by the troupe’s executive board, called the Board of Governors, which is empowered to oversee and make decisions for the ballet. A company spokesperson said there was “intense discussion” over the decision. Seven committee members voted in favor of Lopez, and two for Kronenberg. The committee, which had been meeting since last fall, included four members of the Board of Governors, two people from the troupe’s regular board of trustees, two dancers, Villella, executive director Nicholas Goldsborough and a community representative.


Associated Press

Born in Havana and raised in Miami, Lopez started taking ballet lessons at age 5. She moved to New York at age 14 to devote herself to dance full-time at the New York City Ballet's dance school.

Lopez joined the corps de ballet at the New York City Ballet at age 16 and became a principal dancer there in 1984. After retiring from the ballet in 1996, Lopez led the George Balanchine Foundation and co-founded the Cuban Artists Fund, which supports Cuban and Cuban-American artists.


CBS Miami

Upon retirement, Lopez joined WNBC-TV in New York as a Cultural Arts reporter, writing and producing feature segments on the arts, artists and arts education. She was also a full-time senior faculty member and Director of Student Placement, Student Evaluation and Curriculum Planning at New York’s Ballet Academy East.



#2 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 23,998 posts

Posted 03 April 2012 - 10:53 AM

An obituary for Ursula Melita Hirschfeld Heisman, who has died at age 93.

Known as Ursula Melita, she directed the ballet, for girls up to 18, simultaneously at studios in Bala Cynwyd, Moorestown, and Philadelphia.

Ballet des Jeunes is now located at Tambussi Studio in Westmont, Camden County, and is run by Donna Tambussi, who became its artistic director in 1986.



#3 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 23,998 posts

Posted 03 April 2012 - 10:56 AM

A line of nail colors named in tribute to New York City Ballet is launched.

Perhaps you can't nail a pirouette, but you can look pretty in pale pink with "You Callin' Me a Lyre." There also are sheer lavenders, whites, nudes and sparkles with balletic titles, such as "Care to Danse?," "Don't Touch My Tutu," "Barre My Soul" and "Pirouette My Whistle."



#4 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 23,998 posts

Posted 03 April 2012 - 11:01 AM

A review of Alberta Ballet in "Swan Lake" by Michael Crabb in The Toronto Star.

Designer Peter Cazalet’s sumptuous sets and costumes — rented from Salt Lake City’s Ballet West — fully support Peterson’s intent, immersing us in a medieval environment of rich brocades and crenellated castle walls.

After a 45-year evolution, Alberta Ballet boasts a solid base of classically well-trained dancers who, with the kind of rigorous preparation clearly invested in Swan Lake, can deliver with confidence, conviction and theatrical panache. You’d never know six of the female corps are drawn from the company’s professional school. Despite sometimes wobbly support from the Calgary Philharmonic, there was nothing “provincial” about it.



#5 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 23,998 posts

Posted 03 April 2012 - 11:06 AM

Charleston Ballet Theatre sues an as-yet-unidentified critic over statements made in an e-mail.

The short email, distributed on Feb. 17 “to several dance companies all over the United States, including members of the Regional Dance America (RDA),” a ballet trade group, referred to recent difficulties at the Charleston Ballet, which is incorporated in Tennessee as Beale Street Ballet.



#6 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 23,998 posts

Posted 04 April 2012 - 09:35 AM

More stories on the change in leadership at Miami City Ballet.

The New York Times

And, Ms. Lopez said, she is "completely committed" to the Balanchine style. "It’s a philosophy that I grew up around," she said, adding that Miami City Ballet’s dancers were exemplars. "They’re stage animals. There’s a raw energy, there’s a passion about them. That’s what Mr. B. wanted."

In the interview Ms. Lopez said she had two or three contemporary choreographers, whom she did not name, in mind as candidates to create new dances for the company. New work "forces the dancers to break free, to think differently," she said. "It challenges audiences. I would like to see more of that."


Palm Beach Daily News

Last year, Lopez revamped Morphoses as a project-based company centered on temporary resident choreographers.

The boards of Miami City Ballet and Morphoses have agreed to enter into a to-be-determined partnership next year, she said.


The Sun-Sentinel

Miami City Ballet also recently named a new executive director, Nicholas Goldsborough. “I am excited about the prospect of working with Lourdes Lopez as we plan for the future of Miami City Ballet,” Goldsborough said. “I feel certain that she will inspire our dancers.”



#7 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 23,998 posts

Posted 04 April 2012 - 10:50 AM

A New York Times dance critics’ roundtable on Paul Taylor and trends in modern dance.

 

SULCAS: The idea that modern dance is trivial or dead is like the idea that ballet, post-Balanchine, is dead; a perspective from those who no longer like or can find recognizable referents in what they see.

The company model has almost gone, which changes the way that choreographers work, and might be one of the reasons that they seem less interested than a previous generation was in developing a physical vocabulary. Responding physically to music seems to be less and less a starting point for choreographers......



#8 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 23,998 posts

Posted 04 April 2012 - 10:59 AM

A review of San Francisco Ballet by Janos Gereben in The San Francisco Examiner.

Adams’ darkly idiosyncratic, breakneck “Guide to Strange Places” goes well with a dance that Page — former dancer with the Royal Ballet, later director of the Scottish Ballet — has described as “savage and earthy.”

On opening night, Sarah Van Patten and Anthony Spaulding, Maria Kochetkova and Gennadi Nedvigin, Frances Chung and Pascal Molat, Vanessa Zahorian and Jaime Garcia Castilla were the lead pairs in the piece, which, mixing ballet and contemporary styles, is similar to Program No. 5’s “Glass Pieces” by Jerome Robbins.




0 user(s) are reading this topic

0 members, 0 guests, 0 anonymous users


Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases (adblockers may block display):